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Flashdance..What A Feeling Print

Philip Leister

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ABOUT THE ARTWORK

First when there's nothing But a slow glowing dream That your fear seems to hide Deep inside your mind All alone I have cried Silent tears full of pride In a world made of steel Made of stone Well, I hear the music Close my eyes, feel the rhythm Wrap around Take a hold of my heart What a feeling Bein's believin' I can have it all Now I'm dancing for my life Take your passion And make it happen Pictures come alive You can dance right through your life Now I hear the music Close my eyes, I am rhythm In a flash It takes hold of my heart What a feeling Bein's believin' I can have it all Now I'm dancing for my life Take your passion And make it happen Pictures come alive You can dance right through your life What a feeling What a feeling (I am music now) Bein's believin' (I am rhythm now) Pictures come alive You can dance right through your life What a feeling (I can really have it all) What a feeling (Pictures come alive when I call) I can have it all (I can really have it all) Have it all (Pictures come alive when I call) (Call, call, call, call) I can have it all (Bein's believin') Bein's believin' (Take your passion) Make it happen (What a feeling) What a feeling (Bein's believin') Happen (Take your passion) Flashdance..What A Feeling Songwriters: Irene Cara / Giorgio Moroder / Keith Forsey "Flashdance..What A Feeling" is a song from the 1983 film Flashdance with music by Giorgio Moroder and lyrics by Keith Forsey and the song's performer, Irene Cara. Moroder had been asked to score the film, and Cara and Forsey wrote most of the lyrics after they were shown the last scene from it in which the main character dances at an audition for a group of judges. They felt that the dancer's ambition to succeed could act as a metaphor for achieving any dream a person has and wrote lyrics that described what it feels like when music inspires someone to dance. The song wound up being used for the scene they watched as well as during the opening credits as the main character is shown working as a welder. Their collaboration was the first single to be released from the soundtrack album and received positive reviews. Because Flashdance was going to be released in mid-April of that year, Casablanca Records made the single available in March as a way of marketing the film to the target audience. The unexpected success at the box office resulted in stores across the US selling out of both the single and its parent album just days after Flashdance was in theaters. The song spent six weeks at number one on the Billboard Hot 100 and topped the charts around the world. It was awarded Gold certification by the Recording Industry Association of America for sales of one million copies and won the Academy Award and Golden Globe for Best Original Song and earned Cara the Grammy Award for Best Female Pop Vocal Performance. The success of the song made it clear to Cara that she was not receiving royalties that were stipulated in her recording contract, and she took legal action against her label in order to be compensated. The backlash that she claims she suffered in retaliation for filing a lawsuit left her feeling shut out of the entertainment industry as she struggled to find work. Although she began receiving royalties for the recordings she made for them, the label and its owner declared bankruptcy and claimed that they were unable to pay her the $1.5 million settlement she was awarded by a Los Angeles Superior Court. 
 
 What a Feelin' is the second studio album by American singer-songwriter Irene Cara. Released on November 2, 1983, this album is a continuation of the work that Cara began with producer Giorgio Moroder on the soundtrack to the 1983 film Flashdance. The dance-popsong she co-wrote with Moroder and Keith Forsey for the film, "Flashdance... What a Feeling", went to number one on Billboard magazine's Hot 100 and foreshadowed the style of this album, which was unlike her R&B-heavy debut. Although Cara was more accustomed to composing music, she relinquished most of those duties to Moroder here and shifted much of her songwriting focus to lyrics. The title of the album cued in record buyers to the inclusion of the soundtrack hit from the spring of that year, but another four songs would make the Hot 100, the first of which, "Why Me?", had been released in October. "The Dream (Hold On to Your Dream)" from the D.C. Cab soundtrack became the second new single when that movie was released in December, four months earlier than planned. Since the song was not on the original pressings of What a Feelin', those copies were removed from store shelves so that the album could be re-released to include it. The other two Hot 100 entries were Cara's last top ten hit, "Breakdance", and the one track on the album for which she did write the music, "You Were Made for Me". The album received mixed-to-positive reviews and was moderately successful, reaching number 77 on Billboard's album chart. But while Cara was having hit records and receiving awards for "Flashdance... What a Feeling", she was also feeling ripped off by her record company, Network Records, and planning to sue. The lawsuit she filed resulted in a backlash that destroyed her reputation in the entertainment industry. It would be eight years before the courts would acknowledge the harm she suffered and she would begin receiving royalties for the recordings she had made since signing with the label. 
 
 Irene Cara Escalera (born March 18, 1959) known professionally as Irene Cara, is an American singer, songwriter, dancer, and actress. Cara sang and co-wrote the song "Flashdance... What a Feeling" (from the film Flashdance), for which she won an Academy Award for Best Original Song and a Grammy Award for Best Female Pop Vocal Performance in 1984. Cara is also known for playing the role of Coco Hernandez in the 1980 film Fame, and for recording the film's title song "Fame". Prior to her success with Fame, Cara portrayed the title character Sparkle Williams in the original 1976 musical drama film Sparkle.
 
 Source: Wikipedia

DETAILS AND DIMENSIONS
Print:

Giclee on Canvas

Size:

16 W x 20 H x 1.25 D in

Size with Frame:

17.75 W x 21.75 H x 1.25 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I’m (I am?) a self-taught artist, originally from the north suburbs of Chicago (also known as John Hughes' America). Born in 1984, I started painting in 2017 and began to take it somewhat seriously in 2019. I currently reside in rural Montana and live a secluded life with my three dogs - Pebbles (a.k.a. Jaws, Brandy, Fang), Bam Bam (a.k.a. Scrat, Dinki-Di, Trash Panda, Dug), and Mystique (a.k.a. Lady), and five cats - Burglekutt (a.k.a. Ghostmouse Makah), Vohnkar! (a.k.a. Storm Shadow, Grogu), Falkor (a.k.a. Moro, The Mummy's Kryptonite, Wendigo, BFC), Nibbler (a.k.a. Cobblepot), and Meegosh (a.k.a. Lenny). Part of the preface to the 'Complete Works of Emily Dickinson helps sum me up as a person and an artist: "The verses of Emily Dickinson belong emphatically to what Emerson long since called ‘the Poetry of the Portfolio,’ something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. On the other hand, it may often gain something through the habit of freedom and unconventional utterance of daring thoughts. In the case of the present author, there was no choice in the matter; she must write thus, or not at all. A recluse by temperament and habit, literally spending years without settling her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a few friends; and it was with great difficulty that she was persuaded to print during her lifetime, three or four poems. Yet she wrote verses in great abundance; and though brought curiosity indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness." -Thomas Wentworth Higginson "Not bad... you say this is your first lesson?" "Yes, but my father was an *art collector*, so…"

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